New York Diary

I've been in NY for the past three weeks on non-theatre related business.  But that has not stopped me from checking out what is happening on the scene.  So Saturday night I went to see famed cabaret singer Cait Doyle in her new show Cait Doyle's Hot Mess in Manhattan. The show is in development and just wrapped up a run at the American Theater of Actors on 54th street.  It is not clear what the next step will be.  Some say franchise others have suggested a tour.  But what is clear is that this talented cast and creative

team made a show that was so worth watching that I saw it twice in one day!  The multi-composer show is the result of two plus years of cabaret and development and while there is more development to come the work has paid off.  At the after party, at Jake's Saloon on 10th ave, I told Cait I was looking forward to playing her in the future.  She said, "believe me nobody is looking forward to that as much as me."

I'd thought to spend Monday night at the D-Lounge with some friends.  But after a raucous weekend in the "city" it was time to get back to work. Thankfully New York Theatre Barn is there every Monday working on their newest project Rocket Science.

And we are looking forward to seeing Hard Times at The Cell when we get back to NYC late next week.  Being here and seeing so much development work is really inspiring, and it's making my non-theatre contract that much more bearable.

PS.  Didn't know about these, so thanks for the heads up guys.  

Preview: World Stage Presents The Wooster Group's Vieux Carre

The Tennessee Williams' classic Vieux Carre gets a new look in the Canadian Premiere, The Wooster Group's Version of Tennessee Williams' Vieux Carre.  This unique show is on, March 28th-31st, at the Fleck Dance Theatre.  Directed by The Wooster Group's founding member, Elizabeth LeCompte and stars long-time company members Ari Fliakos, Scott Sheppard and Kate Valk.  A bold re-imaging of Williams' story this experimental theatre company returns to Toronto for the first time since 1989.

If you are not familiar with the 30 plus years of work by the Wooster Group don't miss this opportunity to see one of New York's most radical companies in action.  The show stays true to Williams' original text, but takes the story in an inspired and new direction.  Art greatly influences Ms. LeCompte, particularly the work of Andy Warhol, and 70's film maker Paul Morrissey.  Supported by a layered sound score and inventive video use the play deftly translates to the 21st century.

Performance details:

Wednesday, March 28th: 8pm
Thursday, March 29th: 8pm
Friday, March 30th: 8pm
and Saturday March 31st: 8pm.
All performances are at the Fleck Dance Theatre, 207 Queens Quay West, Toronto.

Tickets are $45, $36 (seniors and artsworkers), $15 (CultureBreak - 13 to 25 years-old.) available at the Harbourfront Centre's Box Office.  Call 416.973.4000 or email tickets@harbourfrontcentre.com or visit the ticket link here.

Tony Award Nominations - 2011

Past Tony winners Anika Noni Rose and Matthew Broderick announced the 2011 Tony Awards nominees live from the New York Public Library for the Performing Arts in New York City.

The American Theatre Wing's 65th Annual Antoinette Perry "Tony" Awards, which are presented by The Broadway League and the American Theatre Wing, will air on CBS on Sunday, June 12th from 8:00 - 11:00 PM (ET/PT time delay).

THE 65th ANNUAL TONY AWARDS take place at the Beacon Theatre. The awards will be followed by the invite-only Tony Gala which will take place at The Plaza Hotel in New York City.

Best Play

Good People
Author: David Lindsay-Abaire

Jerusalem
Author: Jez Butterworth

The Motherf**ker with the Hat
Author: Stephen Adly Guirgis

War Horse
Author: Nick Stafford

Best Musical

The Book of Mormon
Catch Me If You Can
The Scottsboro Boys
Sister Act

Best Book of a Musical

Bloody Bloody Andrew Jackson
Alex Timbers

The Book of Mormon
Trey Parker, Robert Lopez and Matt Stone

The Scottsboro Boys
David Thompson

Sister Act
Cheri Steinkellner, Bill Steinkellner and Douglas Carter Beane

Best Original Score (Music and/or Lyrics) Written for the Theatre

The Book of Mormon
Music & Lyrics: Trey Parker, Robert Lopez and Matt Stone

The Scottsboro Boys
Music & Lyrics: John Kander and Fred Ebb

Sister Act
Music: Alan Menken
Lyrics: Glenn Slater

Women on the Verge of a Nervous Breakdown
Music & Lyrics: David Yazbek

Best Revival of a Play

Arcadia
The Importance of Being Earnest
The Merchant of Venice
The Normal Heart

Best Revival of a Musical

Anything Goes
How to Succeed in Business Without Really Trying

Best Performance by an Actor in a Leading Role in a Play
Brian Bedford, The Importance of Being Earnest
Bobby Cannavale, The Motherf**ker with the Hat
Joe Mantello, The Normal Heart
Al Pacino, The Merchant of Venice
Mark Rylance, Jerusalem

Best Performance by an Actress in a Leading Role in a Play
Nina Arianda, Born Yesterday
Frances McDormand, Good People
Lily Rabe, The Merchant of Venice
Vanessa Redgrave, Driving Miss Daisy
Hannah Yelland, Brief Encounter

Best Performance by an Actor in a Leading Role in a Musical
Norbert Leo Butz, Catch Me If You Can
Josh Gad, The Book of Mormon
Joshua Henry, The Scottsboro Boys
Andrew Rannells, The Book of Mormon
Tony Sheldon, Priscilla Queen of the Desert

Best Performance by an Actress in a Leading Role in a Musical
Sutton Foster, Anything Goes
Beth Leavel, Baby It's You!
Patina Miller, Sister Act
Donna Murphy, The People in the Picture

Best Performance by an Actor in a Featured Role in a Play
Mackenzie Crook, Jerusalem
Billy Crudup, Arcadia
John Benjamin Hickey, The Normal Heart
Arian Moayed, Bengal Tiger at the Baghdad Zoo
Yul Vázquez, The Motherf**ker with the Hat

Best Performance by an Actress in a Featured Role in a Play
Ellen Barkin, The Normal Heart
Edie Falco, The House of Blue Leaves
Judith Light, Lombardi
Joanna Lumley, La Bête
Elizabeth Rodriguez, The Motherf**ker with the Hat

Best Performance by an Actor in a Featured Role in a Musical
Colman Domingo, The Scottsboro Boys
Adam Godley, Anything Goes
John Larroquette, How to Succeed in Business Without Really Trying
Forrest McClendon, The Scottsboro Boys
Rory O'Malley, The Book of Mormon

Best Performance by an Actress in a Featured Role in a Musical
Laura Benanti, Women on the Verge of a Nervous Breakdown
Tammy Blanchard, How to Succeed in Business Without Really Trying
Victoria Clark, Sister Act
Nikki M. James, The Book of Mormon
Patti LuPone, Women on the Verge of a Nervous Breakdown

Best Scenic Design of a Play
Todd Rosenthal, The Motherf**ker with the Hat
Rae Smith, War Horse
Ultz, Jerusalem
Mark Wendland, The Merchant of Venice

Best Scenic Design of a Musical
Beowulf Boritt, The Scottsboro Boys
Derek McLane, Anything Goes
Scott Pask, The Book of Mormon
Donyale Werle, Bloody Bloody Andrew Jackson

Best Costume Design of a Play
Jess Goldstein, The Merchant of Venice
Desmond Heeley, The Importance of Being Earnest
Mark Thompson, La Bête
Catherine Zuber, Born Yesterday

Best Costume Design of a Musical
Tim Chappel & Lizzy Gardiner, Priscilla Queen of the Desert
Martin Pakledinaz, Anything Goes
Ann Roth, The Book of Mormon
Catherine Zuber, How to Succeed in Business Without Really Trying

Best Lighting Design of a Play
Paule Constable, War Horse
David Lander, Bengal Tiger at the Baghdad Zoo
Kenneth Posner, The Merchant of Venice
Mimi Jordan Sherin, Jerusalem

Best Lighting Design of a Musical
Ken Billington, The Scottsboro Boys
Howell Binkley, How to Succeed in Business Without Really Trying
Peter Kaczorowski, Anything Goes
Brian MacDevitt, The Book of Mormon

Best Sound Design of a Play
Acme Sound Partners & Cricket S. Myers, Bengal Tiger at the Baghdad Zoo
Simon Baker, Brief Encounter
Ian Dickinson for Autograph, Jerusalem
Christopher Shutt, War Horse

Best Sound Design of a Musical
Peter Hylenski, The Scottsboro Boys
Steve Canyon Kennedy, Catch Me If You Can
Brian Ronan, Anything Goes
Brian Ronan, The Book of Mormon

Best Direction of a Play
Marianne Elliott and Tom Morris, War Horse
Joel Grey & George C. Wolfe, The Normal Heart
Anna D. Shapiro, The Motherf**ker with the Hat
Daniel Sullivan, The Merchant of Venice

Best Direction of a Musical
Rob Ashford, How to Succeed in Business Without Really Trying
Kathleen Marshall, Anything Goes
Casey Nicholaw and Trey Parker, The Book of Mormon
Susan Stroman, The Scottsboro Boys

Best Choreography
Rob Ashford, How to Succeed in Business Without Really Trying
Kathleen Marshall, Anything Goes
Casey Nicholaw, The Book of Mormon
Susan Stroman, The Scottsboro Boys

Best Orchestrations
Doug Besterman, How to Succeed in Business Without Really Trying
Larry Hochman, The Scottsboro Boys
Larry Hochman and Stephen Oremus, The Book of Mormon
Marc Shaiman & Larry Blank, Catch Me If You Can

Recipients of Awards and Honors in Non-competitive Categories

Special Tony Award for Lifetime Achievement in the Theatre
Athol Fugard
Philip J. Smith

Regional Theatre Tony Award
Lookingglass Theatre Company (Chicago, Ill.)

Isabelle Stevenson Award
Eve Ensler

Special Tony Award
Handspring Puppet Company

Tony Honor for Excellence in the Theatre
William Berloni
The Drama Book Shop
Sharon Jensen and Alliance for Inclusion in the Arts

Tony Nominations by Production
The Book of Mormon - 14
The Scottsboro Boys - 12
Anything Goes - 9
How to Succeed in Business Without Really Trying - 8
The Merchant of Venice - 7
Jerusalem - 6
The Motherf**ker with the Hat - 6
The Normal Heart - 5
Sister Act - 5
War Horse - 5
Catch Me If You Can - 4
Bengal Tiger at the Baghdad Zoo - 3
The Importance of Being Earnest - 3
Women on the Verge of a Nervous Breakdown - 3
Arcadia - 2
Bloody Bloody Andrew Jackson - 2
Born Yesterday - 2
Brief Encounter - 2
Good People - 2
La Bête - 2
Priscilla Queen of the Desert - 2
Baby It's You! - 1
Driving Miss Daisy - 1
The House of Blue Leaves - 1
Lombardi - 1
The People in the Picture - 1

Read more at Broadway World.com

Jessie Tyler Ferguson @ Joe's Pub

I'm really into this performance, and Perez Hilton of all people, has the best clip. Thanks Perez! Check out Jessie Tyler Ferguson, of Modern Family's fame singing, "So This Guy Was Climbing Up a Mountain..." at Joe's Pub in New York.

Notes from the Big Apple

I've been down in New York since last weekend, to celebrate American Thanksgiving with my extended family. I love spending a few days in New York City before the holiday, catching up with old friends and seeing shows. This trip I was really excited because there are some interesting new musicals on Broadway. Bloody Bloody Andrew Jackson, got a great preview write up in the New York Times and seemed promising, as did, Kander and Ebb's final work, The Scottsboro Boys. Also on my short list was, American Idiot, the new show, set to the music of Green Day. There are some real heavyweights on Broadway right now. James Earl Jones and Vanessa Redgrave are starring in Driving Miss Daisy. Elaine Stritch and Bernadette Peters are back on Broadway in A Little Night Music. Ms. Kristen Chenoweth is starring opposite Sean Hayes in Promises, Promises, which also features a cameo by Molly Shannon. And the incomprable Patti Lupone is in the new show, Women on the Verge of a Nervous Breakdown, based on the classic film by Pedro Almodovar.

With so many shows to choose from it was a tough call as to what I should see during my limited time in town. So my first stop was to visit my friends at New York Theatre Barn . I wanted to find out what they have seen and what they would recommend. Unfortunately they did not have great things to say about a few of the above mentioned shows and their criticism was echoed by a few other trusted voices. Bloody Bloody Andrew Jackson, was probably the show I was most excited about but from everything I have heard it may not be worth seeing. Most of the criticism for the show was about the music. Several people have told me that the score is not very good, and one person even went so far as to say that the show doesn't have a score. Yikes! Other people took issue with the story, saying that the show had some clever bits but either didn't develop them or made them into cheap jokes rather than anything with substance. Too bad. I also heard similar criticism for American Idiot. Most detractors felt that it isn't really a musical, but actually a song cycle. Not that there is anything wrong with a song cycle, but you get the picture.

Nobody I talked to had seen the Scottsboro Boys yet, but it was definitely the hot ticket in town. Everyone wants to see it, including me. The show tells the story of nine black boys who were arrested in 1931, for allegedly raping two white women, while traveling by train in the South. The show is also the last fully published collaboration between Kander and Ebb. The legendary duo wrote such classics, as Cabaret and Chicago, and had several shows in development, but Mr. Fred Ebb sadly passed away in 2004.

Usually when I am in town. I like to get half price tickets from TKTS in Times Square, for Wednesday matinees. You never know what is going to be available, which is half the fun of it, and you are guaranteed to have some choices. This year the line was unusually short, I practically walked right up to the window. There weren't nearly as many shows up as I had hoped, but both Promises, Promises and Women on the Verge... were available. Despite my great love and admiration for Ms. Lupone I opted for the former. I am frankly sick of seeing movies turned musicals on Broadway, and Promises is a classic.

The score of Promises, was written by Burt Bacharach and feature such iconic tunes as, "I Say a Little Prayer", and "I'll Never Fall in Love Again." Neil Simon wrote the book, so all and all it's a pretty solid piece. The show stars Sean Hayes, of Will and Grace fame, and despite a touch of cold that was evident he held his own and was very charming. When the revival was reviewed at least one critic chastised Mr. Hayes for being "too gay" for the role, a criticism which I have occasionally lobbied against other actors. But I actually didn't find his portrayal overly campy. No more so than the show itself, which is pretty camp.

As for Ms. Chenoweth, I have very mixed feelings about her. Her unique vocal tone does sometimes grate on my nerves but there is no denying her vocal prowess, and she as endearing as ever, not to mention perfectly cast, in the role of Fran Kubelik. She and Mr Hayes have an obvious affection for one another that helps sell their love story. With a little help from Molly Shannon the show has a lot of laughs and lightens the heart. There is nothing heavy hitting about Promises, Promises, but then again does a show have to be challenging to be entertaining? Definitely not.

I will be in town a few more days and am going to try and get to one or two more shows. Scottsboro Boys anyone?

Our Friends at New York Theatre Barn Are At it Again

Joe Barros is one of the most amazing producers that EAP knows. He's the artistic brain behind NYTB in New York. When I was last in town he filled me on a few of his upcoming projects. One of which is playing this Monday, April 6, at the Julia Miles Theater. Hey You Know What Movie Would Make a Good Musical? I am sure you can imagine, but it is about a pair of playwrights who can't get any original work published, so they begin writing musical versions of popular movies. Talk about art imitating life, imitating art, you get the picture. The musical is a campy combination of Jerry Maguire, Scream and Twister. I also want to shout out Jason Michael Snow, who wrote the music. He is also featured in the clip below from Hey You Know... I was fortunate to get to work with him in Wood at the Manhattan Theatre Club last summer. I knew he was a super talented singer and genuine actor but I had no idea he could write such great music. Check out Twister below, from Hey You Know What Movie Would Make a Good Musical?



And also from Twister in Hey You Know...



Celina Carvajal and Kate Weatherhead, who play Jo and Melissa respectively, KILL IT in, "Blow Her Away." Kate was also in Wood, and I don't Celina personally but she was a member of the Young Peoples' Teen Musical Theatre Company in San Francisco, along with Joe and I.
click here to learn more about NYTB and the show

33 Variations

One nice plus side to this recession is that it makes theatre tickets, even for the hottest shows affordable again. Last Sunday I had to opportunity, for thirty dollars, to see Jane Fonda in 33 Variations. 33 Variations is the new play by Moises Kaufman, famed writer of the Laramie Project. Variations boosts a fantastic cast, standouts include Ms. Fonda, as the prickly musicologist Katherine Brandt, who fights her daughter and her failing health by heading to Bonn, Germany to complete a book about Beethoven's famous 33 variations on a waltz by Anton Diabelli. Other standouts include Colin Hanks, of Mad Men, as the nurse-turned-lover of Fonda's daughter who ends up travelling to Bonn and assists in the final months of Brandt's life. I also loved Susan Kellerman as Brandt's colleague and friend Dr. Gertrude Ladenburger.

The script juxtaposes Brandt's work and death with that of the original inspiration Ludwig van Beethoven, played with aplomb by Zach Grenier. And the story works. Separated by 200 years Brandt and Beethoven's connection is well concocted. The set also adds in the fluidity of the script. With panels of sheet music acting as mobile walls that travel around the stage, hiding and revealing the actors of the two time periods. Additionally the script calls for a pianist who plays throughout the work. The addition of a live musician adds exponentially to the overall experience. And some of the most moving scenes, in particular one in which Grenier, as Beethoven, describes the music he is writing as Diana Walsh, the pianist/musical director, plays.

Some elements of script are not as strong as the overall piece. And a lot of the dialogue sounds didactic, and overly expository. There are moments in the writing and directing that feel overly scripted and staged, but all in all those moments don't overshadow the piece which is compelling and fascinating to watch. Fonda, who hasn`t been on stage in nearly 50 years, had a few line flubs the afternoon I saw the show, and in talking to others it is a recurring problem. But, she has an incredible amount of lines in this piece, and as the story progresses she is suffering from Lou Gehrig’s, so it mattered less and less, and her stage presence is wonderful. She is perfectly cast. I felt Samantha Mathis, as Claire Brandt, Fonda's daughter was not as strong, but I couldn't decide if it was her acting, the direction, or the script that let her down. My only other slight criticism was that the second act dragged in comparison with the first, and while the story wraps up nicely I thought the second act could have been tighter. But if you are in New York, I wouldn't miss 33 Variations.

Liza extended again!

The limited engagement of the critically acclaimed Liza's at the Palace . . .! has been extended for a second time.

Produced by John Scher/Metropolitan Talent Presents & Jubilee Time Productions, the production was originally scheduled to run to Dec. 14 but was originally extended through Dec. 28. Due to ticket demand, the show will now play through Jan. 4, 2009.

New show dates are Dec. 30, 2008; Jan. 2, 2009; and Jan. 3, 2009 at 8 PM and Jan. 4, 2009 at 3 PM.

(info courtesy of playbill.com)

Chekhov's Uncle Vanya

The new Austin Pendleton-directed production of Anton Chekhov's Uncle Vanya, for Off-Broadway's Classic Stage Company in early 2009, will feature Maggie Gyllenhaal as Yelena and Peter Sarsgaard as Astrov, the troupe announced yesterday.

The real-life couple join Tony Award winner Denis O'Hare as Vanya, Mamie Gummer as Sonya, Louis Zorich as Waffles, George Morfogen as Srebryakov, Delphi Harrington as Maria and Cyrilla Baer as Marina.

Previews begin Jan. 17, 2009. An official opening date will be announced. The limited run plays to March 1.

Rosie live premieres tonight!

Check your local listings! Rosie has always been such a massive supporter of theatre and we love her for that.



So funny!

South Pacific dazzles

As I mentioned while I am in New York there are a few shows that I felt I should not miss. South Pacific was at the top of that list, and I didn't think it was likely to happen. Especially since it is one of the only sold out shows this time of year. But I went by Lincoln Centre Tuesday morning, and they told me if I came back at five I might be able to get returns. So at quarter to five I returned to LC, thinking there was not much of a chance of getting tickets. But by some miracle I got the only two returns for the day. And I didn't even care that they were 125$ each. The show started at seven because it is over three hours long, but let me tell you three hours has never felt shorter. The Vivian Beaumont, is a beautiful theatre, although I perceived it as a small Broadway house it actually seats 1080. And all of the technical elements were perfect, not like Gypsy which was plagued by bad sound for the whole show at Wednesday's matinee. I love the feature at the Beaumont which allows the part of the stage covering the pit to be pulled back, enhancing the sound of the magnificent orchestra. That feature was perfectly utilized, and not over done, it really added to the swelling score everytime the orchestra was revealed. There were other elements of perfection as well, the set and the staging were really superb. Everything moved around the large stage seamlessly. The crowds of sailors who adorn the stage for much of the show really gave you that sense of wartime reality. A lot of hurry up and wait, as it were.

The leads were amazing. Kelli O'Hara, who I have known about since Light in the Piazza, was perfectly cast as Nelly Forbush. And Danny Bernstein stole the show as Luther Billis. There number together, "Honey Buns" was one of the best theatre moments I have ever experienced. Paulo Szot, who played Emille de Becque, had that rare quality of masculinity, which is so often lacking in the leading men of today. His opera background is probably partly responsible for that, and it was refreshing to see a leading man who actually has chemistry with his leading lady. As for Mathew Morrison, who plays Lt. Joseph Cable I think I'd go to the South Pacific with him, no problem. Beautiful voice as well. I was also really impressed by Loretta Ables Sayre, who's Bloody Mary went so far beyond the caricature that is written, to become a real entity in South Pacific. "Happy Talk," which I have always loved because frankly it is one of the funniest and most outlandish numbers in musical theatre, took on a new and much more human face in this production.
In fact overall, that is what makes this production of South Pacific so good. Because it is not the best show, it is not even the best of Rogers and Hammerstein. The storyline arch is awkward. For example, unlike in the film the show starts at the de Becque's plantation, and Nelly and de Becque are already well into their courtship when we are introduced to them, which to me felt very forced. It also makes the first act a little flat, or at least this performance it felt a bit flat. But the music is quintessentially Rogers and Hammerstein. I would defy anyone to leave that show not humming those tunes. And just like all the major reviews have said, South Pacific is so well contextualized in our modern world, and so many things are illuminated in this production. This show is given new meaning in our times, and also our times make it obvious what a classic this musical really is.
I will try to get a revue of Gypsy up tomorrow. Lots to talk about there. Patti Patti Patti.

A Rough Road Ahead for Broadway

Great article in the Times yesterday. Nobody saw it of course because of election coverage, but I always love Patrick Cohen. Photo courtesy of Hiroko Masuike for The New York Times.

Liza Minelli is going to Broadway

Wonderful news from playbill.com this Sunday morning:

"Tony, Grammy, Oscar and Emmy Award winner Liza Minnelli will return to Broadway in Liza's at the Palace . . .!, a two-week concert engagement that will begin performances Dec. 3. Tickets go on sale to the general public Oct. 26.The limited engagement, produced by John Scher/Metropolitan Talent Presents & Jubilee Time Productions, will play Broadway's Palace Theatre through Dec. 14. Ron Lewis directs and choreographs. Gary Labriola is executive producer. Minnelli will be joined onstage by Cortés Alexander, Jim Caruso, Tiger Martina and Johnny Rodgers." (Andrew Gans, playbill.com)

Show times are Tuesday, Wednesday, Friday and Saturday evenings at 8 PM with matinees on Sundays at 3 PM. The Palace Theatre is located at Broadway and 47th Street. Tickets range in price from $25 to $125. For more information visit www.lizasatthepalace.com.

Stage to screen news

News from New York as just a couple of days ago at the Oct. 6 Revival: Broadway's Next Act panel discussion at Carnegie Hall's Zankel Hall, as possible film adaptations of the award-winning musicals Spring Awakening and In The Heights were mentioned.

Ana Gasteyer moderated the evening, which featured Spring Awakening composer Duncan Sheik, In the Heights creator-star Lin-Manuel Miranda, Legally Blonde director-choreographer Jerry Mitchell, original Rent star Anthony Rapp and "Hairspray" film director Adam Shankman.

Although both refused to go into much detail regarding the topic, I think we can all agree that this is going to happen. With the right casting and with a director like Baz Luhrmann, Rob Marshall, or Stephen Daldry, we could see some powerful film adaptations of important Broadway shows.

Theatre News: New York -Wig Out

Now here is a play that I would like to see. Wig Out, written by Tarell Alvin McCraney opened on Tuesday night at the Vineyard Theatre in New York, the New York Times is reporting. According to the review Wig Out is an epic look at the life of drag queens and the men who love them. I love the Vineyard Theatre, they always take risks and are constantly putting up amazing new shows. [title of show] also had a run at the Vineyard. I hope Wig Out is still running when I get to the city in a few weeks. I really want to see it, because deep down I know I am a drag queen trapped in a woman's body. The Times Review is linked bellow.

http://theater2.nytimes.com/2008/10/01/theater/reviews/01wig.html?ref=theater

'Legally Blonde' will close on Broadway

News from New York this morning as Legally Blonde announced yesterday that it will play its final performance at the Palace Theatre on October 19th.

In a statement made yesterday - lead producer Hal Luftig said:

"Producing Legally Blonde has been one of the highlights of my career. Much like Elle Woods, the entire company, creative team and crew has worked with heart, wit, enthusiasm, integrity and style throughout the entire, thrilling run. I can't wait for the rest of the country to be able to experience the show live."

The production will have played 595 regular performances and 30 previews since it opened on April 29, 2007.

Legally Blonde has music and lyrics by both Laurence O'Keefe and Nell Benjamin and a book by Heather Hach. James Sampliner serves as music director. Orchestrations are by Christopher Jahnke.

Legally Blonde earned seven Tony nominations, including Best Book, Best Original Score, Best Choreography and Best Actress (for original star Laura Bell Bundy).

A national tour of the musical, starring Becky Gulsvig, launched in Providence, RI, Sept. 21 and is currently booking dates through September of 2009.